Wednesday, March 23, 2011

I want to try these:

Beef with broccoli

Marinated beef with a savory soy sauce and broccoli.

Orange chicken

Battered white meat chicken with a spicy orange sauce, carrots and edamame.

Genreal Chang's Chicken
Battered white meat chicken with a sweet chili sauce, broccoli and red bell peppers

Sweet & sour chicken

Battered white meat chicken in a balanced sweet and tangy sauce, pineapple and bell peppers

Shanghai style beef

Beef with a sweet and savory sauce, onions, string beans and red bell peppers.

Ginger chicken & broccoli

White meat chicken with a fragrant ginger sauce, broccoli and red bell peppers.

Shrimp in a garlic sauce

Shrimp with a garlic sauce, carrots, red bell peppers and snap peas.

Shrimp lo mein

Shrimp with a sesame sauce, bok choy, mushrooms, celery and lo mein noodles

btw I don't know why only one image is showing...but I hope It still gives an idea on how good this stuff looks! Can't wait to try! and these are not my images .....I just find stuff to share with you all...Enjoy =D


  • Serves 6
  • |
  • prep time: 20 minute(s)
  • |
  • cook time: 45 minutes

3 medium zucchini and/or yellow squash, cut into bite-size pieces
2 medium red and/or yellow bell peppers,cut into bite-size pieces
1 large onion, cut into bite-size pieces
5 tsp. Bertolli® Classico™ Olive Oil, divided
1/2 tsp. dried thyme leaves, crushed
3 cloves garlic, peeled
1-1/2 lbs. boneless, skinless chicken breast halves, cut into bite-size pieces
1 jar Bertolli® Vineyard Premium Collections Portobello Mushroom with Merlot Sauce
12 oz. whole wheat bow tie pasta, cooked and drained
  • Preheat oven to 425°. Line 2 jelly-roll pans with aluminum foil. Evenly arrange vegetables on pans, then drizzle each pan with 2 teaspoons Olive Oil and sprinkle with thyme; toss to coat. Roast 20 minutes. Stir in garlic and rotate pans. Roast an additional 20 minutes.
  • Meanwhile, heat remaining 1 teaspoon Olive Oil in 12-inch nonstick skillet over medium-high heat and cook chicken, stirring occasionally, 4 minutes or until chicken is almost done. Reduce heat to medium. Stir in Sauce and cook 3 minutes. Stir in roasted vegetables. Add 1/4 cup water to pans and stir, scrapping up brown bits from bottom of pans. Stir into skillet. Cook, stirring occasionally, 2 minutes or until heated through and chicken is thoroughly cooked. Serve over hot pasta.
Nutrition Information per serving
Calories 480, Calories From Fat 80, Saturated Fat 1g, Trans Fat 0g, Total Fat 9g, Cholesterol 65mg, Sodium 520mg, Total Carbohydrates 62g, Sugars 16g, Dietary Fiber 8g, Protein 37g, Vitamin A 45%, Vitamin C 130%, Calcium 10%, Iron 25%



  • Serves 6
  • |
  • prep time: 20 minute(s)
  • |
  • cook time: 25 minute(s)
2 Tbsp. Bertolli® Classico™ Olive Oil
6 boneless, skinless chicken breast halves (about 2 lbs.)
1 jar Bertolli® Tomato & Basil Sauce
1/4 cup orange juice
2 Tbsp. firmly packed brown sugar
1 box (16 oz.) bow-tie pasta, cooked and drained
  • Heat Olive Oil in 12-inch skillet over medium-high heat and brown chicken. Stir in Sauce and orange juice blended with sugar. Bring to a boil. Reduce heat to low and simmer covered 15 minutes or until chicken is thoroughly cooked. Serve over hot pasta.


  • Serves 8
  • |
  • prep time: 10 minute(s)
  • |
  • cook time: 10 minute(s)
1/4 lb. thick cut bacon, chopped
1 medium onion, thinly sliced
1-1/2 lbs. uncooked small shrimp, peeled, deveined and tails removed
1/4 tsp. crushed red pepper flakes
1 jar Bertolli® Vineyard Premium Collections Fire Roasted Tomato with Cabernet Sauvignon Sauce
1 cup chicken broth
1 loaf French bread, thinly sliced and toasted
Shaved Parmesan cheese
  • Cook bacon in 12-inch nonstick skillet until crisp. Remove bacon; reserve 2 tablespoons drippings.
  • Heat reserved drippings in same skillet over medium-high heat and cook onion, stirring occasionally, 4 minutes or until tender. Add shrimp and red pepper flakes. Cook, stirring occasionally, 2 minutes or until shrimp just turn pink. Add Sauce, broth and reserved bacon; heat through. To serve, top bread slices with shrimp mixture, then cheese. Garnish, if desired, with chopped basil.
Variation: For a main dish, serve over hot cooked pasta.

TIP: Shrimp mixture can be made up to 1 day ahead. Refrigerate covered until ready to use. Heat through, then spoon onto bread slices.
Nutrition Information per serving
Calories 340, Calories From Fat 100, Saturated Fat 3g, Trans Fat 0g, Total Fat 11g, Cholesterol 140mg, Sodium 960mg, Total Carbohydrates 26g, Sugars 10g, Dietary Fiber 2g, Protein 26g, Vitamin A 15%, Vitamin C 10%, Calcium 10%, Iron 25%


  • Serves 6
  • |
  • prep time: 25 minute(s)
  • |
  • cook time: 20 minute(s)
2 Tbsp. Bertolli® Classico™ Olive Oil
4 cloves garlic, finely chopped
1/2 cup dry white wine OR chicken broth
1 jar Bertolli® Arrabbiata Sauce
3 Tbsp. chopped fresh parsley
2 Tbsp. chopped fresh basil leaves (optional)
Finely grated peel of 1 lemon
18 littleneck clams, well scrubbed
1-1/2 lbs. mussels, well scrubbed
1 lb. uncooked fresh or frozen large shrimp, peeled and deveined
  • Heat Olive Oil in 8-quart stockpot and cook garlic over medium heat 30 seconds. Stir in wine and cook 1 minute. Stir in Sauce, parsley, basil and lemon peel. Bring to a boil over high heat. Reduce heat to low and simmer, stirring occasionally, 5 minutes. Stir in clams, mussels and shrimp. Simmer covered, stirring once, 10 minutes or until clams and mussels open and shrimp turn pink. (Discard unopened shells.)
  • Serve in shallow bowls and, if desired, with crusty Italian bread.

( btw in other cioppino recipes like a stew or boil: you could add any kind of kind of reminds me of gumbo =D anywhose...I got these recipes from bertolli's website...I might post some more recipes I like  some other day....Salut =D

Movie News

Elizabeth Taylor/Retna Ltd. 
Me and Maggie the Cat
A very personal appreciation of Elizabeth Taylor (1932-2011)
By Kat Murphy
Special to MSN Movies

"I've been through it all, baby. I'm Mother Courage."
"What's the victory of a cat on a hot tin roof? Just stayin' on it, I guess."
In 2007, my blood boiled as "Entertainment Tonight" gushed ghoulishly over the possibility that 75-year-old Elizabeth Taylor had a "new boyfriend" -- referring to the gay black gentleman who escorted the actress to an AIDS benefit. The interviewer had to kneel to get right in the face of the wheelchair-bound movie star, resplendent in jewels of her own design and a sequined gown just slipping off her shoulder. "Are you ready to be a bride for the ninth time? Would you accept a proposal of marriage?," baited the blond ditz.
"Marriage?!" shrieked Taylor, her face a mask of mock horror. And then the diva threw back her head and howled like a banshee.
Viewers, of course, were being invited to enjoy the spectacle -- and sound -- of a blowsy old dame, veteran of so many soap-opera scandals, acting dotty. What could be funnier than pretending the sedentary septuagenarian might be up for connubial hanky-panky?
There was a time when the star of Tennessee Williams' "Cat on a Hot Tin Roof" (1958) would have cut the belittling ditz off at the knees. Her character, Maggie the Cat, would have narrowed her great violet eyes, thinned those lush lips and, wasp-voiced, nailed her victim as a "no-neck monster." Still, I loved that unabashed banshee howl. Think of it as the last hurrah of a dying earth goddess, her power drained by age and atheists who mock the dangerous glamour of lust and desire, preferring sex sans mystery, sans even consummation.
I could never think of Elizabeth Taylor as a small woman -- she was only 5'2" -- because her appetites -- for sex, food, drink, drama, drugs, diamonds -- were huge, deliciously de trop. To paraphrase Gloria Swanson, Taylor was always big ... even if her movies and her life got small.
I can't think of a contemporary actress who could equal the largesse of her passions -- on-screen or off. Can you imagine Julia Roberts or Angelina Jolie or Scarlett Johansson or Jennifer Aniston having the sexual heft to hungrily eye a stud like Paul Newman (Taylor's co-star in "Cat on a Hot Tin Roof") as if he were the last bowl of milk ever? Could any of these pretty lightweights stand up to a fully charged Richard Burton in a slash-and-burn duel of wits and words (as she exhibited in her second Oscar-winning performance for 1966's "Who's Afraid of Virginia Woolf?")?
For my money, the otherworldly extravagance of Taylor's beauty has never been matched. But it was her shocking emotional ferocity, the way she plunged into full-throttled lust, rage, hysteria or grief that made her a larger-than-life movie star.
In "Cat," her Maggie is so fierce and determined a sexual force that she manages to finally arouse lust in her vaguely impotent husband ("vague," because Brick's homosexuality in Tennessee Williams' play had to be euphemized for the screen).
(Story Continues On Next Page...)
Me and Maggie the Cat
(...Story Continued from Previous Page)
Her father-in-law (Burl Ives), bigger than life in his own right, pays her tribute -- "That girl has life in her body" -- putting into words what Taylor meant to movie-mad 20-year-old girls like me, growing up in the sexually hypocritical and repressive '50s when having appetites meant you were bad, bad, bad.
Never ghetto-ized as virgin or sex goddess, Taylor took in Audrey Hepburn and Marilyn Monroe and grew them up -- discarding little-girl innocence of both the gamine and airhead variety. Besotted Richard Burton once accused her of being more of a man than a woman -- and, in the unliberated '50s, we so tapped into that subtext: Taylor played the gender game as though she were as free as any man to pick and choose what gave her pleasure, without becoming a sexual victim. Leveling her measuring gaze at a suitor like a cocked gun, she projected ruthless sexual authority. She'd have unmanned TV's "Mad Men," on the prowl during what would have been her heyday.
I can tell you that any girl fighting the steel bit of that benighted decade's sexual double standard thrilled to the way Taylor let her impossibly lush body (36-21-36) out to play, without fear or apology or regret. For women already locked down, she provided vicarious, big-screen fantasy -- a night out with Maggie the Cat.
Gossip columnist Liz Smith recalls that the instant Taylor and Burton set eyes on each other, they forgot -- or didn't care -- that they were married to other people. During the great brouhaha that followed, the Pope branded "Cleopatra" a "sexual vagrant." Far gone in passion, Taylor wondered idly if she might sue His Holiness!
In her breakout role in "National Velvet" (1944), a horse named Pie arouses her passion. Watch Taylor cantering on her back in bed, "reins" attached to her feet, crying "Faster! Faster!" and listen to her ardent, "I'm in love with him! This is the real thing!" She was only 12, but there's no mistaking she was already physically engaged by all things bright and beautiful. She was all high color and energy as a prepubescent taken in by the animal magnetism of horse and collie ("Lassie Come Home," 1943). Scarcely more than half a decade later, in the tender "Father of the Bride," it's a husband-to-be that so ravishes the 18-year-old that her doting dad (Spencer Tracy) is dazzled by her radiance.
In "Reflections in a Golden Eye" (1967), after she discovers her husband (Marlon Brando), a closeted homosexual, has perversely whipped her beloved stallion almost to death, she stalks into a room full of military officers like an avenging Greek goddess in flowing white chiffon. Without a word, she takes her quirt to Brando's face, again and again. The movie's all about libidinous projections, but Taylor plays this S&M moment as an outraged horse-lover rather than a woman wounded by a weak, sexually conflicted man.
I like to think she was a black panther or Black Beauty in another life. Her rich black hair springs up around her face with a life of its own, and those incredibly thick eyebrows and lashes signal animal origins. During the long, silent beginning of "Butterfield 8," the movie that won her a pity-Oscar , her party girl wanders around a lover's luxe apartment, desperately seeking a cigarette. Thwarted, she lights up a cigarillo, coughs, then chases the burn with a slug of booze from a cut-glass decanter.

(Story Continues On Next Page...) 
Me and Maggie the Cat, Cont.
After smoothing expensive perfume over her arms -- she's wearing only a skin-tight satin slip -- Taylor wraps herself in a white cashmere coat with a great white-fox collar. Black-maned, porcelain-skinned, this marvelously sensual creature makes you share her yen for oral gratification, invites you to enjoy the sensation of soft fur on scented flesh. The world -- the movies -- seemed her sweetmeat. Paul Newman got it right when he admired Taylor as "a functioning voluptuary."
Early on, when she was still slim and new, Taylor could project a faux-British reserve, stroking us with that low velvety voice. But it wasn't long before the ingenue felt free to throw back her head and let rip a shockingly slutty guffaw. Liz was capable of screeching vulgarity and aimed sarcasm and contempt in a dry, high nasal -- like nails being ripped out of wood.
In "Who's Afraid of Virginia Woolf?" her bulging flesh squeezed into skin-tight duds, Taylor collars a young, none-too-bright hunk -- "OK, stuff, let's go" -- for a mechanical bump-and-grind around the dance floor. She manages to convey her weariness with the sexual ritual, her disdain for the man-meat she's using -- and yet, lets you glimpse the lusty broad she once was.
I see Elizabeth Taylor as an American version of Italy's Anna Magnani, another diva who lived large. But Magnani was allowed to wear the signs of hard-living on her face and body; in Europe, the decay of her beauty gave her sexual and spiritual cache. Not so, Taylor. Her Italianate physicality ripened in fast-motion, speeded up by the gusto with which she devoured life. (And death. When Burton tried one last time to return to his wife Sybil, he wrote in his diary that Taylor swallowed sleeping pills "with gusto.")
In "Suddenly, Last Summer" (1959), she rises Venus-like from the ocean in a sprayed-on white bathing suit, her full breasts and hips and luxuriant black hair a Rorschach of primal sexuality. (Her gay cousin's using her as bait for young men.) But as Taylor's lush flesh metamorphosed from hourglass perfection into fertility goddess excess, Hollywood cosmeticized, corseted and coiffed her into drag-queen caricature. Neither erotic or exotic, her "Cleopatra" (1963) looks like a plump little mare, gamely lugging elaborate wigs, jewelry, gowns around.
Her extraordinary loveliness and lust for life had to be paid for with illness (broken back, brain tumor, skin cancer, hip replacements, etc.). After actually being pronounced dead in 1960, she wore the tracheotomy scar on her throat like a badge of mortality. Somehow it complemented the beauty mark on her cheek.
Taylor always had steel in her spine. First on the scene when Montgomery Clift crashed his car leaving her party, she saved the actor she adored from choking to death by pulling out teeth lodged in his throat. Shattered by her husband Mike Todd's death in a plane crash, she armored up in Maggie the Cat, a character with "life in her" to spare. Tennessee Williams, Maggie's creator, might have been thinking of Taylor when he observed that "high station in life is earned by the gallantry with which appalling experiences are survived with grace."
Williams' hypersexualized, overheated fictions suited Taylor. Along with "Cat" and "Suddenly," she starred in "Boom!" (1968), as an aging monster wooed by Death (Burton), and "Sweet Bird of Youth" (1989 TV movie), as an over-the-hill movie star who buys the favors of a beautiful young man. Who better to flesh out Williams' homosexual parables about beauty used and abused, the link between appetite and death?
Taylor's extravagant looks and ballsy sexuality appealed to men such as entrepreneur Mike Todd and Richard Burton, egomaniacs and gourmands in their own right. But take a look at poor Eddie Fisher in "Butterfield 8," cowering in the corner of a couch, limp as a dishrag, while the teasing Taylor comes at him "wild with desire." She was no slouch at channeling crazed viragos, gorgeous man-killing medusas, especially in the '70s and '80s when the movies didn't know what to do with her anymore.
In her eight marriages, this diminutive dynamo sampled a veritable YMCA of male archetypes: the mogul, the pop singer, the great actor, the politician, the construction worker, et al. Like Monroe, she seemed to be searching for her opposite number, someone bigger-than-life who could match her celebrity. Burton came close, but then the two of them simply burned each other down.
I think she found her truest soul mates in gay men such as Clift, maybe James Dean, and Rock Hudson -- actors who mirrored her own iconic beauty. They spoke to the part of her that was all earth mother, the wise broad who could gaze into the grotesquely ruined face of Michael Jackson, acknowledge his dream of looking like her, and compassionately call him "son."
And if ever a woman understood the risks of sexual appetite, it was Taylor, making her the perfect spokesperson, since 1985, for AIDS research. The grande dame famously sold off some of her legendary diamonds for the cause, and the Academy of Motion Picture Arts and Sciences honored her with the Jean Hersholt Humanitarian Award in 1993.
In Steve Ericson's recent "Zeroville," a hallucinatory novel that alleges that the movies dream us, the "hero" sports a tattoo on his shaved head of Elizabeth Taylor and Montgomery Clift, "the two most beautiful people in the movies." The image comes from a delirious moment in George Stevens' "A Place in the Sun" (1951), when the camera closes in on the two stars' faces, their profiles fitting together perfectly -- like puzzle pieces -- as they sink into a kiss from which they will never escape.
All black-and-white satin, quintessential American Dreamboats, the two are pure glamour. Her eyes half-closed, dark with languorous desire, her face a luminous pool where dreams could drown, Elizabeth Taylor incarnates divine eye-candy for every lotus-eater who loves the movies. "Are they watching us?" she cries. Yes, Maggie the Cat, Liz, Bessie Mae, Ms. Tits , we will always be watching you ... up there in our celluloid dreams, your permanent place in the sun.

Thursday, March 17, 2011

original post by:(Chez Yuki) lust or amethyst smokes?

Wednesday, February 2, 2011

Review: Wet 'n' Wild Color Icon Palette in Lust

I'm sure most of you are already familiar with this palette, so I didn't know if I needed to do a review. Since I have all 4 palettes and reviews on the first 3, I feel like I should complete the series =)

The Lust palette is definitely the darkest, most dramatic palette of the four. The left side houses three matte shades: a very light pastel pink, a red-based plum, and a blackened purple. The right side has the shimmery shades: a satin white with white microglitter, a neutral charcoal, and a gorgeous black with purple microglitter. The shimmery/glitter particles are finely milled. They don't fall out or irritate my eyes at all.
All six eyeshadows are soft and velvety smooth. They're highly pigmented and easy to blend. I usually wear my eyeshadow over UDPP, and they last for 6+ hours before the first sign of creasing appears in the inner corner. These eyeshadow barely fade as the day goes on. I'm impressed beyond belief.

Matte pink, white with microglitter, matte plum, shimmery charcoal gray.
Matte plum, shimmery charcoal gray, matte blackened purple, black with purple microglitter.
I'm very fond of the black with purple microglitter, and the matte plum. I would buy this palette over and over again just for these two shades. The matte plum looks gorgeous in the crease with gold all over the lids (EOTD). The black with microglitter, though a lot harder to pull off, looks great as the outer corner color with a classic smokey eye.
The palette comes with a sponge-tipped applicator, which is great at packing on color, and a little eyeshadow brush that I've never tried to use. The packaging, while not the most elegant, is a lot more sturdy than it lets on. It doesn't dip in when I apply pressure to it. I've noticed that in some palettes, the pans are little crooked, like the matte pink in the first picture. It doesn't bother me, as long as it doesn't fall out or affect its functionality. For $5, there is little to complain about. You're paying less than a dollar for each (very amazing) eyeshadow. I have nothing bad at all to say about this palette.

Product- 30/30
Packaging- 5/5
Value- 5/5
Rating: A+

another favorite brand of mine..not my photos name of user on post.

Monday, February 07, 2011, 9:31:56 PM | (Kristina)Go to full article
Hi friends! I picked up the three new Wet ‘n’ Wild 8-pan eyeshadow palettes for $5 each at Walgreens last night. This is part three of a series of posts for each one – enjoy! This review is for Comfort Zone (I saved the best for last!).

I have numbered the shades in each palette so I can refer to them separately, since the individual shades don't have names. You can click on any picture to view it at full size. First, here are some product pictures:

And here are the swatches (all done over Urban Decay Primer Potion)!

Finally, here are my thoughts on the individual shades:
  1. Buttery, shimmery gold.
  2. Shimmery light copper - almost the color of a brand-new penny.
  3. Warm, shimmery light bronze. Reminds me of MAC Tempting.
  4. Very dark plum (or is it brown?) with multi-colored, warm-toned shimmer.
  5. Light, shimmery, golden taupe. Beautiful.
  6. Bright, shimmery, olive drab green. Also beautiful.
  7. Dark chocolate brown infused with tons of gold and bronze shimmer. This is like Dior Czarina Gold nail polish in eyeshadow form!
  8. Shimmery rust with a strong light blue/lavender flash. I have no idea how to wear shades like this! I've heard this is a dupe of MAC Club, but I haven't seen Club in a long time, so I can't confirm or deny that. However, I can confirm that it is the same shade as the bottom left shade in the Wet 'n' Wild Night Elf palette from their Holiday 2010 collection.
Overall, I think this is a fabulous palette. The pigmentation was perfect on every single shadow - there were no disappointments. It blows my mind that this is only $5; I’d gladly pay $5 each just for the shades I labeled #s 1, 3, 5, and 6. I think I may end up getting use out of every shade in this palette! Some of the ones I'm not sure I can pull off, but I plan to give them all at least one try on my eyes. I’d definitely recommend it to anyone – it has a pleasant variety of both cool and warm shades, so everyone should be able to find something in it they like.

I hope you enjoyed my little mini-series on these palettes! :)

Wet 'n' Wild 8-Pan Palette: Petal Pusher

Monday, February 07, 2011, 9:13:26 PM | (Kristina)Go to full article
Hi friends! I picked up the three new Wet ‘n’ Wild 8-pan eyeshadow palettes for $5 each at Walgreens last night. This is part two of a series of posts for each one – enjoy! This review is for Petal Pusher.

I have numbered the shades in each palette so I can refer to them separately, since the individual shades don't have names. You can click on any picture to view it at full size. First, here are some product pictures:

And here are the swatches (all done over Urban Decay Primer Potion)!

Finally, here are my thoughts on the individual shades:
  1. Chalky white-pink with a fuchsia flash. Low pigmentation.
  2. Soft neutral medium purple with gold shimmer. High pigmentation (no, that's not a typo - it's just hard to tell in the pictures). BEAUTIFUL. Pictures do NOT do this justice!!
  3. Cool-leaning, shimmery, vivid violet. High pigmentation. Again, BEAUTIFUL.
  4. Cool violet with silver sparkle. Medium pigmentation.
  5. Cool, frosty, baby pink. High pigmentation. I'm not kidding or exaggerating when I say this is the prettiest pink eyeshadow I have ever laid eyes on. You just can't tell how gorgeous it is in these pics! Ugh.
  6. Neutral wine with burnished-gold (almost copper) shimmer. Low pigmentation.
  7. Matte dark chocolate brown infused with tons of multi-colored shimmer (pink, purple, copper, and probably other colors too that I just can't see right now). High pigmentation. Stunning.
  8. Matte black with silver shimmer. Medium pigmentation. Note that this is not the same as #8 in Blue Had Me At Hello - that one has larger sparkle particles, whereas the shimmer in Petal Pusher's #8 is more fine - you're unlikely to experience the same fallout I experienced with #8 in Blue Had Me At Hello.
Overall, I think this is a great palette. It blows my mind that this is only $5; I’d gladly pay $5 each just for the shades I labeled #s 2, 3, and 5. I don’t see myself using all these shades and I like to keep my stash minimized, so I will probably end up depotting this and keeping maybe half the shades in another palette. I’d definitely recommend it to anyone – it has a pleasant variety of both cool and warm shades, so everyone should be able to find something in it they like. I think that especially if you're not into dupe-hunting, this one is pretty special; I can honestly say "I don't have anything else like this" for almost every shade in this palette! And I think I will get a lot of use out of those pink and purple shades. :)

Wet 'n' Wild 8-Pan Palette: Blue Had Me At Hello

Monday, February 07, 2011, 6:51:21 PM | (Kristina)Go to full article
Hi friends! I picked up the three new Wet ‘n’ Wild 8-pan eyeshadow palettes for $5 each at Walgreens last night. I plan to do a series of posts for each one (and will hopefully get them all done today) – enjoy! This review is for Blue Had Me At Hello.

I have numbered the shades in each palette so I can refer to them separately, since the individual shades don't have names. You can click on any picture to view it at full size. First, here are some product pictures:

Here is a close-up of the top half of the palette, since I had trouble getting those colors to show accurately in the full-size product pictures:

And here are the swatches (all done over Urban Decay Primer Potion)!

Finally, here are my thoughts on the individual shades:
  1. Neutral shimmery highlight color – not quite silver, not quite gold, not quite white. Low pigmentation.
  2. Cool medium silver. High pigmentation. I don’t have it in my stash anymore to do a comparison, but this reminds me a lot of MAC Electra.
  3. Matte dark navy with subtle blue sparkle. Medium pigmentation, but notably soft/smooth for a matte-based color.
  4. Matte black. Medium pigmentation. I don’t have it in my stash anymore to do a comparison, but I would say this is similar in color and feel to MAC Carbon.
  5. Pale, shimmery baby blue – almost a light seafoam green, but leans slightly more blue than that. Medium pigmentation.
  6. Bright shimmery teal. High pigmentation. While this is not an exact dupe of MAC Parrot (Parrot is bluer and a little more complex-looking), I do believe this is the closest match you’d find to Parrot that’s available in drugstores today. It’s also softer and therefore more pigmented/easier to apply than Parrot is – two points for Wet ‘n’ Wild!
  7. Shimmery navy blue. Medium pigmentation. I’ve heard this could be a dupe for MAC Deep Truth, and I don’t have that one to do a comparison. From what I remember of it, though, I think Deep Truth is more of a cobalt blue, whereas the Wet ‘n’ Wild shade is a darker navy. Nevertheless, I’d bet this is the closest dupe to Deep Truth available in drugstores today.
  8. Matte black with silver sparkles. Medium pigmentation. Reminds me of MAC Black Tied. Be sure to do your eye makeup before your face makeup if using this shade – you will definitely experience some fallout. I could see little silver sparkles floating their way off my arm down to the floor as I applied the shadow for this swatch!

Overall, I think this is a great palette. It blows my mind that this is only $5; I’d gladly pay $5 each just for the shades I labeled #s 2 (silver) and 6 (teal). I don’t see myself using all these shades and I like to keep my stash minimized, so I will probably end up depotting this and keeping maybe half the shades in another palette. I’d definitely recommend it to anyone – cool and neutral-toned folks could get use out of every shade, and warm-toned folks could still get use out of at least a few of the shades (#6, all the darker shades, and maybe #1 – it’s still worth it even if just for #6, though!).

P.S. Thanks for all the sweet emails encouraging me to keep blogging. I love you all, too! :) My job has been keeping me very busy, so a lot of the time I’m too tired to write when I get home, but I’m going to try to integrate blogging back into my routine again – we’ll see how it goes!

some more web images:emerald frost and air play by maybelline.

something I saw that I like from a fellow blogger =D and youtuber! bebexo

reminds me of the Maybelline duos...maybe drugstores get inspired by MAC?

MAC Mercurial Eyeshadow

mac swatches

07/06/09, Permalink 11:44:24 pm, by Sanayhs, Categories: Swatches
Pretty low key posts today, as I'm spending more time working on technical side of stuff, tweaking things, etcetera. As such, here are some more shadow swatches - plus, it might help with wishlists for the sale!

Shale, Sketch, Blackberry, Beauty Marked, Shadowy Lady, Graphology, Parfait Amour, Purple Haze

Follow up:

Trax, Nocturnelle, Fig. 1, Satellite Dreams, Beautiful Iris, Digit, Crystal

Orange, Rule, Coppering, Cranberry, Mythology, Chrome Yellow, Goldmine, Gorgeous Gold

Bitter, Juxt, Swimming, Humid, Flourishing, Greensmoke, Sumptuous Olive

Friday, March 11, 2011

another review from

Milani Liquif’Eye Metallic Eye Liner Pencils Reviews, Photos, Swatches

Milani Liquif'eye Liner

Long-lasting Eyeliner on a Budget:  Milani Liquif’Eye

Milani Liquif’Eye Metallic Eye Liner Pencils ($5.49 each) are new for spring and available in five shades: Black, Silver, Gold, Aqua, and Brown. As far as I’m concerned, there is always more room in the world for metallic/chrome eyeliner. These do remind me of L’Oreal HIP Chrome Eyeliners in many ways, though these are a little firmer and more metallic than chrome finish. They’re definitely similar, though.
Liquif’Eye is soft, smooth, and richly pigmented eyeliner. It glides on like my beloved Urban Decay 24/7 Eye Liners and looks just as smooth. I get good wear out of these–no smudging, budging, or migration eight hours later. They don’t look faded either! Surprisingly, they stay well on my waterline, too, for several hours (but I do have a more watery waterline at times), which isn’t something most liners can do for me.
At just $5.49 each, they’re hard to resist. Not only are they excellent in every way–quality, long-lasting liner that is rich in color and smooth in texture–but they’re priced just right. I tried out four of the five shades, and I found each one to be just as good. I hope to see Milani release more shades in the future–how about a green, copper, and violet?
  • Black (#01) is a rich, deep dark black. It’s an absolutely smoldering black that’s truly black–there’s no gray here.
  • Silver (#02) is a bright and shiny silver with a metallic finish.
  • Gold (#03) is a toned down, burnished gold. It’s not a true yellow gold, but it’a step down from that. Little more “antique” gold in it.
  • Aqua (#04) is a bright aqua-blue. It isn’t quite as metallic as either the gold or silver shades, but it still has that metallic sheen.
Even the packaging is anything but cheap.  It’s a matte black that looks and feels sleek.  If you blindfolded me, I couldn’t tell you that these didn’t feel like other high-end eyeliners, like Smashbox and Urban Decay.

Have you tried these yet?

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  • Product: 30/30
  • Value: 10/10
  • Ease of Use: 5/5
  • Packaging: 5/5
Recommendation: Next time you’re near a Milani display, these are definitely worth a little look-see.

Availability: Local drugstores,

See more photos & swatches!

Milani Liquif'eye Liner
Milani Liquif'eye Liner
Milani Liquif'eye Liner
Milani Liquif'eye Liner